Golden Micaceous Double-Shoulder Jar with Fire Clouds and Irregular [SOLD]

This large micaceous jar, created around 2000 by Lonnie Vigil, is sturdy, thin-walled, and adorned with two bold fire clouds. Lonnie's signature large pots have won top awards at several Santa Fe Indian Markets, and he was honored with the Native Treasures 2010 Living Treasure Award. He considers himself "a guardian of the clay" and states, "I feel responsible for making sure that the Clay Mother stays alive in my village." There are few things more beautiful than golden clay with micaceous flakes shimmering against the light, especially in pueblo pottery with dark black fire clouds. When the piece is crafted by master potter Lonnie Vigil, you know you have acquired the best.

Micaceous pottery is distinguished by the sparkling mica flecks naturally distributed in the clay. Historically, it was used for cooking and storage by the people of Nambe, Picuris, Taos, and the Jicarilla Apache. Once overlooked by many collectors, Lonnie Vigil is credited with single-handedly reviving unpainted micaceous clay pottery and establishing it as a contemporary art form. This jar is inscribed Vigil — Nambe on the bottom.

Lonnie Vigil (1949-) is celebrated for reviving unpainted, micaceous pottery and establishing its place as a contemporary art form. Known as a "PhD" in his field, Vigil refines classic ceramic techniques to push the medium's boundaries. He works primarily with micaceous clay, recognized for its sparkling mica flecks, using traditional Nambe clay, slip, and outdoor firing techniques. Vigil hand-gathers the clay for each piece, adding sand to make it workable.

Growing up at Nambé Pueblo in New Mexico, Vigil initially pursued a career as a financial and business consultant after earning a business degree from Eastern New Mexico University. By the early 1980s, however, he felt unfulfilled and returned to New Mexico, inspired by a performance at the Kennedy Center in Washington, D.C. He then dedicated himself exclusively to micaceous clay pottery.

Vigil preserves the traditions of his culture while pursuing his own creative initiatives. His artworks reflect the style of his ancestors' hand built forms used for cooking and storage. He attributes his success to the guidance of his great-grandmother Perfilia Anaya Pena and great-aunts, who were also potters. For Vigil, making a pot is an encounter with Earth Mother and his Nambe Pueblo ancestors. Each piece "speaks to the continuity in the identity of family and community" and connects the potter, Earth Mother, and ancestral spirits.

"There is collaboration between the clay and myself -- the clay tells me what direction to take. I let the pot dry in the house for a day or two, then take it outside, and smooth the surface. My pots are traditional, and I follow the techniques of my ancestors -- except for the asymmetricals I have created. In the past, Pueblo people cooked in clay, using pots for everything. It is not that common anymore; they mostly use them for special occasions." -Lonnie Vigil  (Source: Wikipedia)

Condition: excellent condition

Provenance: this Golden Micaceous Double-Shoulder Jar with Fire Clouds and Irregular is from the estate of a Santa Fe resident

Recommended Reading: All That Glitters: The Emergence of Native American Micaceous Art Pottery in Northern New Mexico by Duane Anderson

TAGS: Lonnie Vigil, Southwest Indian Pottery, Nambe Pueblo, Contemporary Pottery, Lonnie Vigil